Those who wish to create
indigenous media for (especially for mass consumption) face one main obstacle.
Due to the fact that almost all indigenous populations have pervasive and
damaging stereotypes attached to their communities, any media produced by them
for mass consumption must make or break these stereotypes. In the case of such
movies as ‘The Whale Rider’, the
decision was made to accept and form the basis of the films narrative around
the sexism inherent in Maori culture, addressing that burgeoning societal
problem reflected by the sexual and domestic abuse statistics within the
community. But rather than shedding light on the topic in the way which was
brought forth in ‘Once Were Warriors’,
where the film is one long statement concerning the aforementioned societal
woes in their most explicit and horrific forms, ‘The Whale Rider’ and other films have chosen the path of exploring their social problems through
the use of characters that overcome the oppression around them, rather than
succumbing to it. When media is produced by and for the Caucasian West or any
other majority group, there need be no explanations of why a family is
well-adjusted and functional, whereas in many indigenous films those who
produce them are bound to provide such an explanation, either by separating the
protagonists from their indigenous communities, or by providing side-characters
which personify the most vicious stereotypes which are attached to them.
Callum Dunphy
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